Review: FIFTY KEY STAGE MUSICALS - PART 4 Is A Swell Sampling at 54 Below

Musical theatre– its songs, its great shows, its history – are all celebrated regularly and rapturously at 54 Below in the theatre district itself.  Are you already a dyed-in-the-wool fan of the genre? Perhaps you love many of the specific shows covered in the concert I’m reviewing here called 50 Key Stage Musicals. They’re all named in a preliminary quiz that will check your maven status. See if these rhymed questions describe your habits and preferences or encourage you to explore more.
 

When work is through, do you quickly run home

To sing what you know from the show called Fun Home?

Does it seem you stream Dreamgirls twice a day, more or less?

And then all of Falsettos? Perhaps Porgy and Bess?

Do you jam to the joys of Jersey Boys and

Does Hello, Dolly! make you jolly when it’s played by a band? 

Did you dance to Dear Evan Hansen today? 

When you went to see Rent, were you carried away?

Have you cried at West Side Story before?  

Or “Much More” from that glorious Fantasticks score?

If they did Merry Widow on some stage sometime 

Would you say that old Lehár is still quite sublime? 

Do you prize Guys and Dolls and all of the rest?

Do they make you applaud? Hey, you’re Broadway-obsessed.

-------------------------------------AND NOW THE REVIEW ---------------------------------

Being obsessed with musical theatre is not necessarily a prerequisite for appreciating Broadway-themed concerts at places like 54 Below (known as “Broadway’s Living Room”), where the living is easy this summertime with presentations like Fifty Key Stage Musicals: The Concert!–Part 4.  The matter at hand was a treat on August 17th. It shared the calendar, along with other pleasures to come for lovers of the genre, such as Scott Siegel’s ongoing series called Broadway’s Greatest Hits (next up on August 26th), a look at Diana, the Musical (August 27th), and a standout program previewed in my stand-alone article in our cabaret section, Charles Kirsch’s salute to (and with) Tony Award-nominated performers (August 28th). If you’re only wading in the waters of the musical theatre canon, rather than regularly swimming therein, then the historical contexts and fun facts provided by entertainments like Fifty Key Stage Musicals can be the key to unlocking the door to joining our ranks. Either way, come on in – the water’s fine.

When I entered the room, I was happily surprised to see a giant harp dominating the stage. You don’t see that every day in cabaret, I must say!  But, memorably, the presence of a harp is key to how the song from the first score to be represented was presented, originally, in The Fantasticks. Sara Jean Ford, of the revival cast, and its harpist, Erin Hill, made it a pleasure to try to remember and follow the memory trail of the performer and her character with the song “Much More,” and much more (the character’s early monologue accented by the dreamy harp, comments about the production, recording a cast album, and being directed by its lyricist/book writer, who also acted in the show, under a pseudonym, in the original). That was Tom Jones, who had just passed away a few days earlier at age 95, so it seemed kind of early and not very gracious to say not-so-flattering things about their interaction, even though they were related with a smile. But Iet’s not harp on that right now: the singing and acting were glorious, as were the thrills of Miss Hill’s graceful playing. How I wished that musician could have stayed for more plucking and glissando atmospherics for other numbers! Of course, being strictly “Broadway-obsessed” would not really include The Fantasticks, since Mr. Jones and composer Harvey Schmidt did not pursue bringing it to the Great White Way, content to have continued with what became the longest run of any OFF-Broadway musical. (We’re talking decades.) Coming up in the second spot was “Something’s Coming,” West Side Story’s crackling anthem of anticipation, done full justice by Daniel Assetta. 

Amiable host Robert W. Schneider — also a director, producer, professor, and podcaster — was a relaxed guide through the tour of the chosen dozen among what that recently published book with the same name as the series deems Fifty Key Stage Musicals. (He co-edited with Shannon Agnew). He’s been on 54 Below’s stage for many events —this was his 200th (that’s not a typo!).  He offered facts and observations about the various musicals and their impact and sometimes chatted cheerily with the performers who were revisiting roles they’d played (or let them take the full reins for the comments). 

The Merry Widow was the oldest old friend of the family of musicals to get the spotlight focus –with Brian Michael Henry nailing the necessary bon vivant vitality and brio for that operetta’s “You’ll Find Me at Maxim’s.”  Dear Evan Hansen was the most contemporary, the angst and yearning of its “Waving Through a Window” strongly delivered by the fully committed Richard Spitaletta. 

Strong songs from two tales with prominent Black protagonists were on the bill, bringing super-strong performances. LaDonna Burns was magnetic handling “I Am Changing” from Dreamgirls, revealing rich and resonant tones at the start, building to a thrilling belt that was as rewarding as the restrained energy first allowed to simmer. That was full flame and simmer time, and “Summertime” was sumptuous, the warmth of the Porgy and Bess lullaby burnished by Allison Blackwell’s tones and tenderness. (This number was introduced by spoken comments from Nikki Renee Daniels, who was in the company of the 2012 Broadway mounting of the classic.)   

Two musicals notably featuring LGBTQ characters were in the mix. I appreciated Chris Richie’s understated, hands-in-pockets take on “What More Can I Say?” from Falsettoland, with its appropriate quiet awe, as well as the Fun Home home run when Kali Evonne, in “Changing My Major,” expertly animated over a dozen shades of infatuation, surprise, lust, and wonder in jumping for joy (and Joan, the object of the character’s single-minded focus). She’s a find!            

Steve Rosen came up with a solo version of Guys and Dolls’s title song, which he’d done with a castmate in a revival of the 1950 musical comedy 14 years ago. Although he had vitality in voice and personality (including a fun “dese”/”dem”/”dose” accent), I was disappointed that he brought a sheet of paper with the words and did look down at it more than a couple of times. That under-preparation-with-paperwork is a pet peeve of mine when there’s no apparent understandable reason, especially when a performer is only doing one number. (He was the only singer with paper in hand.) The unapologetic casual attitude was perhaps reinforced by his apparel – a nondescript shirt and baggy, torn jeans not suitable for the event or the character. On the other hand, non-dressy dress was appropriately chosen to add the appropriate character looks for edgy young Rent dramatis personae embodied by Eric Siegle and Jack Hale, unleashing energy in a duet with lightning-rod intensity. Owning “What You Own,” they raged, roared, and rocked without letting all that wattage go too far. Now that’s what we call New York City Rent control!        

The evening ended with two big medleys. First, there was terrific teamwork with a spirited tour through the pop hits used in the jukebox musical Jersey Boys bringing to the fore seasons of nostalgia as Mike Cefalo, Ryan Austermann, Jonathan David Steffins, and Jake Urban delivered big fun and there were smiles  (including their own) all around the room. Closing out the night was the epitome of a pro strolling through history: Lee Roy Reams with a Hello, Dolly! mini-set. It incorporated highlights of the score, monologues, and anecdotes about this staple that he has had such a long history with. It was polished, personal, and poignant. Did it – or he – sound tired? Not a bit. He sent us out on a high.         

Musical director Michael Lavine lavished attention on the varied material in all the right ways, sometimes playing snatches of songs from the shows being discussed, as performers came on (a nice touch), and evidenced an ease with the people and repertoire. Compensation for that brief harp cameo was his all-around nifty accompaniment, as he was ably joined by Nicholas Urban on drums and Sean Decker on bass.

The choices made for a satisfying potpourri that didn’t seem to be trying to overdo the “think outside the box” approach or check every possible box to ensure variety in every possible way. We went with the flow and I’m glad I went.

The venue's offerings are on the 54 Below website calendar HERE.

The address at 54 Below is 254 West 54 Street in Manhattan.

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